▼项目概览,General view © 王子凌

▼场地环境,Context © 王子凌


张玉娘 | Zhang Yuniang


Zhang Yuniang (1250-1276), style name Ruoqiong, was a native of Songyang, Zhejiang Province, known as Yizhen Lady Jushi. She practiced calligraphy and painting and excelled at poetry and lyrics. In her time, people compared her to Ban Zhao of Han Dynasty. She was later esteemed as one of the “Four great Song Dynasty women poets,” along with Li Qingzhao, Zhu Shuzhen, and Wu Shuji. Zhang was the author of two volumes of Orchid Snow – A collection of poems.

▼张玉娘字,the poets by Zhang Yuniang


鹦鹉冢 | Parrot Cenotaph

松阳县城西屏街道官塘路,古时是一片枫树林,如今,这里成为县城中两条道路的交叉口,三角形的场地周围,简单修建栅栏保护,几棵高大的枫树下杂草丛生,有一口古井,名兰雪泉井, 几步之遥,一方低矮简陋的条状墓碑插入土里,这便是县里仅存的关于张玉娘的遗址——鹦鹉冢。

The Guantang road, in the Xiping community of Songyang County, was once a maple tree forest in ancient times. Over hundreds of years, this was the location of the Parrot Cenotaph, the memorial tomb for Zhang Yuniang. A few decades ago, with the county urban development, the maple forest was eventually replaced by buildings. A small triangular lot, with only a few trees left, became the intersection of two major roads.This lot was protected by a basic metal fence to preserve the original Parrot Cenotaph. An ancient well called Lanxue Spring Well, and a few steps away, a low and minimal bar-shaped tombstone is inserted into the earth, consist of the only remaining memorial site of Zhang Yuniang in the county.

▼鹦鹉冢,Parrot Cenotaph © DnA_Design and Architecture

▼场地鸟瞰,Site aerial view © 王子凌


诗文馆 | Museum of Poetry


The Museum of Poetry is planned on this triangular land in conjunction with preserving the Parrot Cenotaphsite, to revive the local history and poetic heritage.

▼诗文馆建筑外观,Exterior view of Museum of Poetry © 王子凌


The site is built as a memorial garden, preserving the original heritage location and trees. In conceiving the design, a significant challenge is addressing the contending demands of fragmentary edges of the site with urban roads and the significance of a historical and cultural site. The design on the ground-level started with the enclosing walls to separate the place from the city traffic and become an independent memorial garden.

▼通过围墙强调场地的边界和场域感,The enclosing walls separate the place from the city traffic and become an independent memorial garden © 王子凌



▼围墙透明度示意,axo – gradient © DnA_Design and Architecture

The wall extends into the garden from the main entrance on the north side, following the positions of the trees in a continuous line, outlining an inwardly rotating path that gradually brings visitors into the garden space under tree shades at the center of the site. The extended paths, and their varying widths, regulate the way visitors walk and behave, conceiving a transition from the noisy urban environment to the memorial space.

The enclosing walls vary in opacity. The level of opacity is determined to meet the demands of the winding path.

▼场地中心鸟瞰,Aerial view to the center of the site © DnA_Design and Architecture

▼内旋的回路将参观者逐渐带入场地,the inwardly rotating path gradually brings visitors into the garden space © 王子凌

▼围墙的透明度随路径变化,The enclosing walls vary in opacity © 王子凌


When one first enters the memorial garden, one can still see the road and people outside through the transparent wall border, while the curved wall on the right completely obscures what is behind it. A tall maple tree suggests the way forward, and the opacity of the wall on both sides gradually changes as the street view fades and the site’s interior space emerges; the narrowing of the path width also suggests to the visitor a shifting spatial sense.

▼首层空间,The ground floor space © 王子凌

▼高大的枫树提示前进方向,A tall maple tree suggests the way forward © 王子凌


Under a group of maple trees at the end of the triangle, the space opens up, closing off one’s outward view while revealing a panoramic view of the internal site space.

▼透过围墙望向遗址空间,View through the transparent walls © 王子凌


After bypassing the transparent curved wall, one reaches the end of the path to discover an ancient well and the Parrot Cenotaph ruins next to the trees. At this point, a lingering memorial space merged with the city completely obscure the rear wall layers.

▼曲线墙体,The curved wall © 王子凌

▼古井和鹦鹉冢遗址,The ancient well and the Parrot Cenotaph ruins © 王子凌

▼内部遗址空间,The internal site space © 王子凌


The white stone base of the enclosure serves as a green belt of planting trough facing the street and seating for visitors inside the site, according to the subtle topography around the site. The vertical stone slabs are engraved with poems, like the unfolding pages of a book, visually presenting Zhang Yuniang’s poetry. The white sandstone ground and the plinth jointly provide an interface as a canvas highlighting the monumental character of the scene.

▼白色砂石地面和基座连成一体,The white sandstone ground and the plinth become a whole © 王子凌

▼竖向石板刻有诗词,如同展开的书页,The vertical stone slabs are engraved with poems like the unfolding pages of a book © 王子凌


The memorial garden, a fragmented land in the city, is reconstructed as a theatrical spatial sequence around the trees and the cultural site with a stage-set-like spatial experience.

▼从街道望向追思园,View from the street © 王子凌


▼剖透视图,perspective section © DnA_Design and Architecture

Another challenge of this project is that the overall configuration of the museum is defined by the original residential building on site, which is relatively a small volume to accommodate public programs while meeting with public building regulations. The building volume is elevated from the ground-level to expand the area of the memorial garden. The only two landing fire evacuation staircases, which double as structural cylinders, divide different spatial layers on each level. The east-facing wall is designed as a solid wall due to the next-door neighbor’s request, also functioning as the display wall for the indoor space. The other three sides are naturally lit by glass walls open to the city.

▼玻璃立面向城市开放,the glass facades open to the city © 王子凌


The gradient of transparency on these glass facades not only reflects the memorial garden but also createsa subtle filter between the interior space and the city streetscape, in addition to providing a base canopy for the trees at sunset.

▼室内空间,Interior view © 王子凌

▼露台,Terrace © 王子凌


The indoor exhibition restores the life of the female poet in the context of the war at the end of the Song Dynasty. Overlooking the memorial garden by the window, the garden and its cultural relic site resonate with the interior exhibition, memorializing and echoing with this ancient culture and history of the city across time and space.

▼展览空间,Exhibition space © 王子凌


Upon its completion, the Museum of Poetry operates under the local Orchid Snow Poetry Club’s management in Songyang. The museum is also part of our “Architectural Acupuncture” strategy in the urban context. The Museum of Poetry is the micro-scale intervention to restore the neglected cultural heritage, re-activate the discrete urban corner, and to offer venues for cultural activities to the surrounding communities.

▼社区中的诗文馆,Museum of Poetry embedded in the community © 王子凌

▼总平面图,Master plan © DnA_Design and Architecture

▼首层平面图,Ground floor plan © DnA_Design and Architecture

▼1-3层平面图,Plan level 1-3 © DnA_Design and Architecture

▼立面图,Elevations © DnA_Design and Architecture

▼剖面图,Section © DnA_Design and Architecture

▼轴测分解图,axon – exploded © DnA_Design and Architecture

设计单位:徐甜甜/DnA_Design and Architecture
摄影师: 王子凌

Name:Museum of Poetry
Location:Songyang, Lishui, Zhejiang Province
Client:Songyang County Museum
Architects: XU TIANTIAN/DnA_Design and Architecture
Lighting Design: Zhang Xin Studio, Architecture Department of Tsinghua University
Structure System: Steel frame shear wall structure
Site area:534㎡
Building area:628.72㎡
Photographer:Wang Ziling